Brian Eno Quotes
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If you watch any good player, they're using different parts of their body and working with instruments that respond to those movements. They're moving in many dimensions at once.
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Perhaps when music has been shouting for so long, a quieter voice seems attractive.
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When you look back on a historical period of music, it seems so obvious to you what the characteristics of it are, but they're not obvious at the time. So, when I look back at my own work, I could easily write a very convincing sort of account of it that made it look like I had planned it all out from day one and that this led logically to that and then I did this and then that followed quite naturally from that. But that's not how it felt.
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You can hear the profile of a sound, in retrospect, so much more clearly than you did at the time. And I think one of the things that's going to be nauseatingly characteristic about so much music of now is its glossy production values and its griddedness, the tightness of the way everything is locked together.
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The Marshall guitar amplifier doesn't just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one.
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I don't like headphones very much, and I rarely listen to music on headphones.
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I think the idea that people walk around to music is very interesting. They are actually creating the soundtrack to their lives as they walk around to it.
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Gospel music is never pessimistic, it's never 'oh my god, its all going down the tubes', like the blues often is.
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Once you've grown to accept something and it becomes part of the system you've inherited, you don't even notice it any longer.
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Whenever you listen to a piece of music, what you are actually doing is hearing the latest sentence in a very long story you’ve been listening to - all the pieces of music you’ve ever heard.
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When our governments want to sell us a course of action, they do it by making sure it's the only thing on the agenda, the only thing everyone's talking about. And they pre-load the ensuing discussion with highly selected images, devious and prejudicial language, dubious linkages, weak or false 'intelligence' and selected 'leaks.'
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For the world to be interesting, you have to be manipulating it all the time.
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The seven white notes on the piano - each section of the piece (there are 12 sections) is five of those seven white notes. If you calculate it, there are 21 groups of five notes in any group of seven notes. And although there are 12 sections, this piece actually uses nine of those groups because some of the sections repeat earlier ones. So that's the formula. It's very simple as a way of generating something. It's my inner minimalist.
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I wish there was a serious investigation into flying saucers that wasn't conducted by crackpots. Unfortunately nearly all of the people who are interested in them kind of manufacture the evidence to fit the theories rather than the other way around. So it's very hard to find any dispassionate treatment of them. Maybe there isn't any scientific basis in which case that's why you never see any scientific evidence.
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The prospect of music being detachable from time and place meant that one could start to think of music as a part of one's furniture.
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It's not the destination that matters. It's the change of scene.
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I think we're about ready for a new feeling to enter music. I think that will come from the Arabic world.
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Being completely free to choose what to do is actually quite difficult.
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One of the things you do when you make a piece of art is you try to make the world you'd rather be in.
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When you make something you are always offering some choices and denying others.
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If something is good, you must torture it mercilessly until it is either dead or great.
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I'm always interested in what you can do with technology that people haven't thought of doing yet.
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Not many people bought Velvet Underground LPs, but those who did, started a band.
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In the future, you won't buy artists' works; you'll buy software that makes original pieces of 'their' works, or that recreates their way of looking at things. You could buy a Shostakovich box, or you could buy a Brahms box. You might want some Shostakovich slow-movement-like music to be generated. So then you use that box.